According to Nattiez, semiology is not the science of communication. Rather, semiology "is the study of the specificity of the functioning of symbolic forms, and the phenomenon of 'referring' to which they give rise (Nattiez 1990: 15)." Thus, Nattiez is in the broadest sense concerned with two things: identifying individual symbolic forms in music (signs) and the multiplicity of meanings that they spawn (network of interpretants). By examining music in terms these signs and interpretants, Nattiez aims at creating a "holistic vision of music (ibid.: x)."
With "Nattiez's Trippypartite" Santa Cruise Control (SCC) realizes these semiological concerns in a theoretical approach that knowingly borrows from Charles Pierce's work on the trichotomies of signs. SCC's approach examines the nature of, and the relation between, the musical work's creation, reception, and objectified internal structure. The processes associated with the musical work's creation and reception, and the material reality that results from the creation of the work, assume the role of objects of study in "Nattiez's Tripartite." Corresponding to these three objects are the three families of analysis that are used to study them. They are poietic analysis, esthesic analysis, and analysis of the work's immanent configuration (of the trace ); that is, analysis of the neutral level. From this tripartitional division, SCC underscores two points. First of all, while they understand the poietic and esthesic phenomena as processes, they see the immanent configurations as structures that are representative of a neutral level. Secondly, like Nattiez, SCC highlights the distinction between the level of the object and the level of the analysis. "The trace remains merely an amorphous physical reality, until it is entrapped by analysis" (ibid.:16). Contact archivalrecords "at" gmail "dot" com with questions about this content.